Begegnung (Detail), um 1924


hroughout his lifetime, Alfons Walde took inspiration from the natural beauty of his native Tyrol, but just as much so fromthe local people and culture. Many inhabitants were farmers, and they were the subject of many of his paintings. Thesepaintings feature a characteristic mannerism traceable to many of Walde’s works, namely that of depicting his humansubjects as a “function” of their natural environment. He chose a style that leaves his human figures, be they in motion orstanding still, virtually lifted of their individuality, one that emphasized the harmony of human beings as an active part oftheir natural environment instead. The sketch-like technique that Walde used to represent human faces are a distinctelement of this style. Around 1926, Walde’s artistic intention developed a new focus. It was no longer the genre-induced “comfortable scenario”that interested him, as he turned instead to a conception of man rooted in the concepts of work, fate and daily existence(See especially his works Holzknecht [Lumberjack], Bauernmutter [Farmer Mother] and Ofenbank [Oven Bench]). With respect to both theme and form, Walde’s work is probably most closely related to the figural work of the Austrianartist, Albin Egger-Lienz. However, Walde’s living scenes retain a decidedly more positive note, as he preferred not toapproach “life and death” subjects directly in his paintings – something that Egger-Lienz did ever more frequently in hislater work. A quote attributed to Gustinus Ambrosi: “No person with an understanding of your (Walde’s) art would possibly compareyou to Egger-Lienz. I mean, he (Egger-Lienz) may also have the large surfaces, but he doesn’t have the form. You have thenecessary youth, the strength to pursue form.”
Walde responded: “I would never deny that Egger has had an influence on me. I hate lying… but I made those smallpaintings with themes of farm life at the age of 18, before I even knew Egger.”
Bauern am Tisch, um 1928

Farmers on the table “Bauern am Tisch (Wirtsstube)”, around 1928

Oil on cardboard, 21.06 x 23.62 in (53,5 x 60 cm)
Österreichische Nationalbank

Bauernstube (Feierabend), 1928

Ovenbench “Bauernstube (Feierabend)”, 1928

Oil on Cardboard, 19.29 x 26.77 in (49 x 68 cm)
Museum Kitzbühel

Nordtirol, 1928

Northtyrol “Nordtirol”, 1928

Tempera on paper, 35.43 x 98.42 in (900 x 2.500 mm)
Museum Kitzbühel

Südtirol, 1928

Southtyrol, 1928

Tempera on paper, 35.43 x 98.42 in (900 x 2.500 mm)
Museum Kitzbühel

Bauernsonntag, 1927

The Farmer´s Sunday “Bauernsonntag”, 1927

Oil on Cardboard, 20.47 x 15.67 in (52 x 39,8 cm)
Museum Kitzbühel

Bäurin, um 1924

Farmer-Woman“Bäurin”, around 1924

Oil on cardboard, 14.17 x 9.45 in (36,8 x 24 cm)
privately owned

Bauer, um 1924

Farmer “Bauer”, around 1924

Oil on cardboard, 14.17 x 9.45 in (36,8 x 24 cm)
privately owned

Bauer auf dem Heimweg, um 1924/25

Farmer´s Way Home “Bauer auf dem Heimweg”, around 1924/25

Oil on Wood, 13.58 x 15.55 in (34,5 x 39,5 cm)
privately owned

Begegnung, um 1924

The Meeting “Begegnung”, around 1924

Oil on canvas, 43.31 x 51.18 in (110 x 130 cm)
Leopold Museum Collection

Kirchenstiege, um 1924

Churchsteps “Kirchenstiege”, around 1924

Oil on cardboard, 15.35 x 13.58 in (39 x 34,5 cm)
privately owned

Kirchgang, um 1935

The Way to Church“Kirchgang”, around 1935

Oil on cardboard, 15.55 x 13.98 in (39,5 x 35,5 cm)
privately owned

Auf Urlaub, um 1928

Soldier on Leave “Auf Urlaub”, around 1928

Oil on cardboard, 10.24 x 8.86 in (26 x 22,5 cm)
privately owned

Sonntag in Tirol, um 1923

Sunday in Tyrol “Sonntag in Tirol”, around 1923

Oil on cardboard, 9.45 x 8.66 in ( 24 x 22 cm)
privately owned

Masken im Schnee, 1926

Masks in the Snow “Masken im Schnee”, 1926

Tempera on cardboard, 10.63 x 8.66 in (27 x 22 cm)
privately owned

Fasnacht in Tirol, um 1926

Carneval in Tyrol “Fasnacht in Tirol”, around 1926

Tempera on cardboard, 13.78 x 6.89 in (35 x 17,5 cm)
privately owned